Tony Garnier designs the plans of an ideal city, called “An industrial city” during his stay at “Villa Médicis” (1899-1904). Published in 1917, it is a milestone in the 20th century history of architecture and urban planning. Tony Garnier will be rebuked many times by the French Academy for not dedicating his full energy to his research project, “Tusculum” which concerned the reconstitution of a Roman city. He dedicated himself instead to avant-garde ideas, by working on his modern city project, designed for about 35.000 inhabitants. The “Industrial City” of Tony Garnier, which can be compared to a city of labor, illustrates the ideas of Fourier. Tony Garnier located it in a place that can be identified as being in Saint-Etienne area (near by Saint-Chamont / Rive-de-Gier), which was heavily industrialized at the beginning of the 20th century. Going against urban conceptions of his time, the architect developed the zoning concept, dividing the city into four main functions: work, housing, health, leisure. The city is located on a rocky headland, the industrial area being clearly separated from it and located down the headland, at the confluence of a river. Four main principles emerge: functionnalism, space, greenery, and high sunshine exposure.

“…Exodus, or the Voluntary Prisoners of Architecture, is a series of eighteen drawings, watercolors, and collages produced by Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis. Animated by a text that reads as a simultaneously factual and fictional scenario for the contemporary metropolis, this dense pictographic storyboard reflects Koolhaas’s earlier stints as a journalist and screenwriter. The project was ultimately the catalyst for Koolhaas’s and his collaborators’ formation of their collective architectural practice, the Office for Metropolitan Architecture (O.M.A.), in 1975.
The title “Exodus” alludes to Cold War West Berlin, a restricted enclave encircled by a forbidding wall—in effect, a prison on the scale of a metropolis, and one in which people sought refuge voluntarily. This image becomes the stage for a new urban culture invigorated by invention and subversion. In The Strip, a pencil–drawn aerial view of the walled city, with its approach corridors extending through the surrounding urban fabric, is superimposed on a photograph of London. Exhausted Fugitives Led to Reception depicts the verbal narrative’s opening scene: a dark wall, tank traps, and trenches mark the threshold of the captive city, with its somewhat ominous thermograms of skyscrapers rising above the wall, while the “exodus” of “voluntary prisoners” marches toward a checkpoint into what Koolhaas describes as “a continuous state of ornamental frenzy and decorative delirium, an overdose of symbols.”
The complex intertwining of images in The Allotments gives meaning to Koolhaas’s phrase “an overdose of symbols.” The peasant figures bent in prayer come from Jean-François Millet’s painting The Angelus (1857-59), but are excised from their context and collaged onto a gridded plinth that runs past a bunker of Tinian marble—the rich material often used by the heroic modern architect Mies van der Rohe. In the background, a surveillance tower rises above the barbed-wire-topped wall. Adding to the complexity, Millet’s figures appear as the reconstituted source of their hallucinogenic rendition by Salvador Dali, in his 1933-35 painting Archeological Reminiscence of Millet’s Angelus. Indeed, Dali’s surreal projections and his so-called “critical-paranoid method” are running subtexts in the Exodus narrative. While O.M.A.’s subsequent work has developed its own trajectory, the graphite and watercolor Park of Aggression—showing a place to act out fantasies of hostility—reveals contemporary influences on the young architects: the orderly composition on a foursquare grid with a diagonal axis recalls contemporaneous work not only by Italian rationalist architects of the 1970s, such as Aldo Rossi, but by the British architect James Stirling…”
Terence Riley